The Creative Mind: An Exclusive Excerpt from Charles F. Haanel’s The Master Key System

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At least ninety percent of our mental life is subconscious, so that those who fail to make use of this mental power live within very narrow limits. 

1.  The subconscious can and will solve any problem for us if we know how to direct it. The subconscious processes are always at work; the only question is, are we to be simply passive recipients of this activity, or are we to consciously direct the work? Shall we have a vision of the destination to be reached, the dangers to be avoided, or shall we simply drift? 

2. We have found that mind pervades every part of the physical body and is always capable of being directed or impressed by authority coming from the objective or the more dominant portion of the mind. 

3.  The mind, which pervades the body, is largely the result of heredity, which, in turn, is simply the result of all the environments of all past generations on the responsive and ever-moving life forces. An understanding of this fact will enable us to use our authority when we find some undesirable trait of character manifesting. 

4. We can consciously use all the desirable characteristics with which we have been provided and we can repress and refuse to allow the undesirable ones to manifest. 

5. Again, this mind which pervades our physical body is not only the result of hereditary tendencies, but is the result of home, business and social environment, where countless thousands of impressions, ideas, prejudices and similar thoughts have been received. Much of this has been received from others, the result of opinions, suggestions or statements; much of it is the result of our own thinking, but nearly all of it has been accepted with little or no examination or consideration. 

6. The idea seemed plausible, the conscious received it, passed it on to the subconscious, where it was taken up by the Sympathetic System and passed on to be built into our physical body. “The word has become flesh.” 

7. This, then, is the way we are consistently creating and recreating ourselves; we are today the result of our past thinking, and we shall be what we are thinking today. The Law of Attraction is bringing to us, not the things we should like, or the things we wish for, or the things someone else has, but it brings us “our own,” the things which we have created by our thought processes, whether consciously or unconsciously. Unfortunately, many of us are creating these things unconsciously. 

8.  If either of us were building a home for ourselves, how careful we would be in regard to the plans; how we should study every detail; how we should watch the material and select only the best of everything; and yet how careless we are when it comes to building our Mental Home, which is infinitely more important than any physical home, as everything which can possibly enter into our lives depends upon the character of the material which enters into the construction of our Mental Home. 

9. What is the character of this material? We have seen that it is the result of the impressions which we have accumulated in the past and stored away in our subconscious Mentality. If these impressions have been of fear, of worry, of care, of anxiety; if they have been despondent, negative, doubtful, then the texture of the material which we are weaving today will be of the same negative material. Instead of being of any value, it will be mildewed and rotten and will bring us only more toil and care and anxiety. We shall be forever busy trying to patch it up and make it appear at least genteel. 

10. But if we have stored away nothing but courageous thought, if we have been optimistic, positive, and have immediately thrown any kind of negative thought on the scrap pile, have refused to have anything to do with it, have refused to associate with it or become identified with it in any way, what then is the result? Our mental material is now of the best kind; we can weave any kind of material we want; we can use any color we wish; we know that the texture is firm, that the material is solid, that it will not fade, and we have no fear, no anxiety concerning the future; there is nothing to cover, there are no patches to hide. 

Charles F. Haanel was an American businessman, author, and philosopher who implemented the financial and mindset principles he shared to great success. His most famous work, The Master Key System, was originally published as a 24-week correspondence course in 1912 and first collected into book form in 1916. A reprint of the original edition is now available from Sound Wisdom and can be purchased from Amazon, Barnes & Noble, or wherever else books are sold.

Ideas, Improvements, and Innovations by Jim Stovall

Photo by Green Chameleon on Unsplash

You may have heard the old saying, “There’s nothing new under the sun.” Whether or not this is true, I would at least have to agree that there is very little new under the sun. Most of what we think of as brand-new or cutting-edge is little more than something that has been remolded or reworked. In the world of breakthrough ideas, concepts, or technologies, virtually everything will fall into one of three categories. There are the rare and precious original ideas. These are few and far between, and should be celebrated for the genius they represent. The vast majority of new things are either innovations or improvements on old things. 

Picasso said, “Good artists copy, and great artists steal.” You are undoubtably as appalled as I was initially when I thought I understood that Pablo Picasso was advocating stealing. But when I read further regarding his thoughts and ideas, I discovered Picasso was telling us that virtually all of us, including great artists, build upon the work of others.  

When you consider true cutting-edge thinkers or creators of original ideas, you might think of people such as Galileo, Alexander Graham Bell, or Einstein, but in each case, they borrowed or built on the work of others. Galileo found an early prototype of a telescope that didn’t work very well. He broadened the lens and extended the device and will forever be remembered as the inventor of the telescope. Alexander Graham Bell found some existing technology and reworked it slightly into what you and I think of as a telephone. Albert Einstein studied the work of at least two other scientists and synthesized their thoughts into his own theory of relativity.  

Here in America, we justifiably think of Thomas Jefferson as the divinely inspired genius who gave us our Declaration of Independence. In reality, phrases and whole sections of what Jefferson wrote were paraphrased or simply copied from John Locke. There are only 26 letters in the alphabet and seven musical notes, so it stands to reason that great art seems familiar as the artists are all working with the same material. 

As the author of over 40 titles who puts my contact info in each of my books, I am contacted by countless people who want to be writers. My best advice to them or you is simply, if you want to be a writer, become a reader. In order to perfect any craft, we must become a student of the top people in the field. In doing so, we can become inspired by their work, build on it, and bring our own art to the world. 

Someone wrote the first song, built the first building, or cooked the first hamburger. Ever since then, creative people have worked hard to innovate and improve the state of the art.  

As you go through your day today, explore what others have done, and then consider what you can do.  

Today’s the day!  

Jim Stovall is the president of Narrative Television Network as well as a published author of many books, including the Wisdom for Winners series. He is also a columnist and motivational speaker. Follow him on Twitter (@stovallauthor) or Facebook (@jimstovallauthor).  

Uncopyable Innovation: Stealing Genius by Steve Miller

I was a teenager when my father joined up with Bill Lear to create one of the most iconic and industry-changing products ever—the 8-track tape player. Lear had been with Motorola when he decided to start a new business jet company, aptly named Lear Jet. But Lear was also one of those guys who had more ideas than time.  

In the late ’50s, early ’60s, Chrysler manufactured a car with a record player in it. It flipped down from underneath the dashboard and only played 45s. (For those of you who have no idea what I’m talking about, Google it, you young whippersnappers!) 

It was a great idea to take your own music with you in the car, but clearly, the turntable was not a good way of doing it. Those of us old enough to remember can picture the needle bouncing all over the record while driving down Main Street. 

Lear thought there must be a better way and went looking for someone to help develop this idea with. He found my dad, Ralph, working in Columbus, Indiana, and offered him a job. Dad was already known as something of an audio/video wunderkind, having developed and patented some pretty cool ideas. 

Lear began another new company, this one called Lear Jet Stereo, and together they improved on another company’s idea—the Muntz 4-track—ultimately coming up with the 8-track so well known in consumer electronics lexicon. 

Without going into all the gritty details, the 8-track tapes and players ended up being manufactured in Japan. Think about that for a moment. “Made in Japan” in the 1960s. For the most part, Japan wasn’t known for its high-quality products. In fact, it wouldn’t be a stretch to say that Japanese-made products back then were more known for their poor quality and workmanship than anything else. They made cheap stuff. And labor costs were very low. 

The idea of manufacturing a complicated piece of electronics of high enough quality to be sold back to the world’s biggest consumer nation—the USA—must have been daunting to my dad and Lear, but they met an American consultant who was at the time consulting for some Japanese manufacturers, including Toyota. He was W. Edwards Deming, an American statistician, professor, author, lecturer and consultant. As Wikipedia describes it, “Deming made a significant contribution to Japan's later reputation for innovative high-quality products and its economic power. He is regarded as having had more impact upon Japanese manufacturing and business than any other individual not of Japanese heritage.” 

At the time, I had the bad fortune to be dragged to some dinners with Dad, Lear, and Deming. In hindsight, it’s easy to see how valuable it might have been to be that fly on the wall while these three pretty smart guys discussed manufacturing. But like I said, I was young. Sitting through those times was like experiencing the torture of constant water drops on your forehead.  

I learned much later that Deming taught his Japanese clients to build quality into the manufacturing process first. This was significant in that most companies built products first and then tested them via Quality Control after. Lear Jet Stereo didn’t have that luxury because they didn’t have deep pockets.  

Fortunately, a few tidbits of information managed to stick in the back of my tiny little teenage boy brain. Two such tidbits were the concepts of maintaining a vigorous program of education and constant self-improvement. Deming often stressed that both were accelerated by what we know as benchmarking. Most of us know the definition of benchmarking as: To observe correct behavior and then emulate within our own context. In other words, study best practices and then adapt to our needs. Most of us practice this type of benchmarking in one way or another. But the way we do this is incorrect for the most part. This happens quite unintentionally, though. Our heuristics actually get in the way. Here’s how I define heuristics: Individuals assess probabilities based on their familiarity with a certain task, idea, or environment. Humans attempt to frame a decision based on prior situations confronted and successfully negotiated. Individuals start at one place in a decision matrix and adjust from that initial point. In other words, we don’t see things as they really are. We see things as we are.

It actually goes further than that, though. We not only see the world through our own filters, but we actually experience it that way, as well. We read the same magazines and trade publications as most of the people we spend time with. We attend the same conferences and trade shows as everybody else in our industry. We bookmark the same webpages. And we hang out in the same online discussion groups on LinkedIn. So, when we start “observing correct behavior,” who do we benchmark? Why, we study other people and companies within our world, that’s who! We take ideas from the same speakers and consultants as everybody else does. We walk the same trade show floors as everyone else does—looking for “new” ideas we can incorporate next year. “Hey, they’ve got a magician and a really crowded booth. That’s what WE’LL do next year!” And what happens? After a while, everyone is stealing from each other. We all start to look alike, and we all start to act alike. We are all copyable.  

Deming understood this and, after a couple of martinis, used to rail on about how stupid this was.  

Yes, it’s important to know what the competition is doing. We must pay attention and make sure we aren’t getting left behind. But when the Radisson hotel group started promoting their rooms with the Tempur-Pedic Sleep Number Bed, they weren’t innovating. They were copying the Westin Hotel Heavenly Bed. Did they think they were adding some awesome new benefit customers couldn’t get anywhere else? Possibly, but that’s the danger of heuristics. The fact is Radisson’s efforts are really no better than a hotel who touts a better coffee maker. 

Like I said, Deming understood this. And many years later it finally sunk into the back of my tiny little adult boy brain. If you truly want to innovate—if you want to be so different you’re Uncopyable—you must benchmark outside your world. 

I’d been talking with Jim Nordstrom, president of Nordstrom department stores at the time. We’d met on the golf course, and he began asking me questions about marketing. Frankly, I was a little taken aback by this and said, “Jim, I can’t give you any marketing advice. I don’t know anything about retail.” To which he responded, “That’s exactly why I’m asking you. The retail consultants will tell me the same thing they would tell my competition. You might tell me something none of us had thought of before. You tell me what you know, and we’ll figure out how to use it.” 

That was the epiphany. I finally saw the mistake most businesses make. Deming’s rants all of a sudden made perfect sense.  Even Albert Einstein saw the need to look for answers and new ideas from outside our heuristics: “We can’t solve problems by using the same kind of thinking we used when we created them.” 

History is rife with examples of accidental external benchmarking, i.e., discoveries: 

Velcro 

The hook-and-loop fastener was conceived in 1941 by Swiss engineer George de Mestral who lived in Commugny, Switzerland. The idea came to him one day after returning from a hunting trip with his dog in the Alps. He took a close look at the burrs (seeds) of burdock that kept sticking to his clothes and his dog’s fur. He examined them under a microscope and noted their hundreds of “hooks” that caught on anything with a loop, such as clothing, animal fur, or hair. He saw the possibility of binding two materials reversibly in a simple fashion if he could figure out how to duplicate the hooks and loops. (Wikipedia) 

Anesthesia 

Crawford Long, William Morton, Charles Jackson, and Horace Wells all come to mind when talking about anesthesia. These men realized that in some cases, ether and nitrous oxide (laughing gas) inhibited pain in people under their influence. In the 1800s, inhaling either of these compounds was somewhat popular for both recreation and entertainment. By witnessing and even partaking in these events, often called “laughing parties” and “ether frolics,” anesthesia’s founding fathers learned more about how these experiences affected people’s perceptions of pain. 

One example in particular demonstrates the accidental discovery of these compounds used to prevent pain in the medical field. In 1844, Horace Wells attended an exhibit and witnessed a participant injure his leg while under the influence of laughing gas. The man, whose leg was bleeding, told Wells that he didn’t feel any pain. After his accidental discovery, Wells used the compound as an anesthetic while he removed his tooth. From there, anesthesia’s use during medical procedures and surgeries took off. Wells, Morton, and Jackson began to collaborate and use anesthesia in dental practices, while Crawford Long used ether for minor surgeries. 

Other examples include the microwave oven, the ice cream cone, Teflon, Post-It Notes, the Slinky, the drive-through window at McDonalds, and Play-Doh. All are examples of serendipitous discovery. 

And, although not as common, there are also examples of intentional benchmarking outside the common walls. My favorite example is Southwest Airlines. The airline industry is probably one of the most egregious examples of an industry that’s stuck in its own heuristics. American Airlines starts a frequent flyer program. Everybody follows suit. United Airlines starts charging for baggage. Everybody follows suit. Delta Airlines creates a hub and spoke system. In an industry of copycats, it’s amazing companies like Southwest, JetBlue, and Virgin have been able to resist the hypnotic pull of follow-the-follower. 

Back when Southwest Air wasn’t the airline industry’s profit leader, Herb Kelleher, CEO, came to the realization that SWA didn’t make money when an airplane was at a gate. It only made money in the air. Kelleher decided SWA would cut the turnaround time drastically, but how to learn?  

The answer was to observe and learn from NASCAR pit crews. Top teams can change all four tires, fill up the gas tank, check the oil, clean the windshield, and vacuum the floor mats in under 12 seconds. (Okay, I made up the floor mat part.) Southwest Air learned how to get everybody—pilots, ground crew, gate agents, and flight attendants—involved in getting a plane offloaded, reloaded, and in the air faster than any other airline. I’ve personally timed multiple flights myself and have never seen a turnaround take more than 20 minutes. On the flip side, I’ve never seen American, Delta, or United ever turn a plane in less than 40. Southwest benchmarked outside their industry when they studied NASCAR pit crews. Instead of copying competitors and then doing “more of the same, but better,” they looked for the genius answer. 

Who is the best in the world, no matter what industry, and how do they solve this? 

That’s why I call it Stealing Genius. Pablo Picasso famously said, “Good artists copy. Great artists steal.” Steve Jobs quoted Picasso in a short video clip I often cite, and he goes further by explaining how Apple has used the concept. If you want to be Uncopyable, this is the mindset you need.  

In the world of comedy, it’s said there are no new jokes. Brilliant humorists are able to uniquely twist an old story…camouflaging it to the point we don’t even recognize it…until we are set up for the “we didn’t see that coming” punch line. 

Every time I teach a group how to Steal Genius, they’re almost caught off guard by its power and effectiveness. A few years ago, I took 28 exhibitors from the huge annual automotive aftermarket trade show, AAPEX, through a Stealing Genius laboratory. We met in Las Vegas and the objective was for them to learn better methods for attracting quality buyers into their booth and turn them into customers. I sent them out to study three local “trade shows”—the Forum Shops at Caesars Palace, the Grand Canal Shoppes at The Venetian, and the Shoppes at The Palazzo. I asked them to observe how the “exhibitors” (the retailers) grabbed shoppers’ attention, how they helped the shoppers qualify themselves, how they displayed products, what type of graphics and messaging was used, and how the “exhibit staffers” (the salespeople) helped them. 

Many of the participants said they’d never seen the similarity between a shopping mall and a trade show, but once their eyes were opened, it was clear. And it became a great learning exercise. Delphi Automotive was so motivated they completely scrapped their existing exhibit plan and booth, developing a new strategy based on some stolen genius. They had their best trade show ever, according to Roger Powell, Director of Marcomm.  

That’s the beauty of Stealing Genius. Once you see the myriad of possibilities outside your own world, you’ll find many new ideas. And once you learn how to do it, it becomes a skill you’ll use to observe your experiences—and your world—to come up with ideas you never would have thought of.  

So, the next time you are looking for a new idea for your organization—maybe a new marketing promotion, a new product idea, a new customer service, or maybe a branding proposition—don’t look at your competition. Don’t even look within your own industry. Look outside. Look at people, organizations, and industries completely unrelated to yours. What are they doing in those areas you want to get better at? How do they solve similar problems? 

Then ask yourself, “What can I steal?” 

To learn more about the strategies and tools to make your company Uncopyable, check out the updated and expanded edition of Uncopyable: How to Create an Unfair Advantage Over Your Competition. Steve Miller is an author, professional/virtual speaker and business advisor. Since founding The Adventure LLC in 1984, Miller’s consulting clients have ranged from solo entrepreneurs to Fortune 100 mega corporations, including Starbucks, Coca-Cola and Procter & Gamble. For your FREE copy of 108 Secrets to Grow Your Uncopyable Business (ebook), go to 108Secrets.com.  

Idleness by Earl Nightingale

When we think of service, we tend to think of being busy. But that’s only part of the story. Idleness is important too—the kind of leisure we need in order to listen to that inner voice, to let our imaginations really take off. 

In his book The Conquest of Happiness, Bertrand Russell blames modern parents for failing to recognize the advantages to their youngsters of what he calls “fruitful monotony.” He wrote, “A generation that cannot endure boredom will be a generation of little men, of men unduly divorced from the slow processes of nature, of men in whom every vital impulse slowly withers, as though they were cut flowers in a vase.”  

Today’s great concern is for organized, supervised, and directed activity. Each year fewer children are being left alone long enough to discover and enjoy the world—the time of fruitful monotony. Too many of us feel we have to pacify and occupy our kids with toys and more toys, games and television. Television takes up some of the time that would otherwise be spent in creative activity. 

Robert W. Wells, a feature writer for the Milwaukee Journal, wrote an article many years ago that I clipped and saved. In it, he said, “Children have an inalienable birthright—the leisurely pressure-free hours when a child is thrown on his own resources and forced to become acquainted with himself.” Wells told of a time when he was a boy that he found himself terrifically bored. He complained to his grandmother about having nothing to do. He explained, “She took me by the hand and led me out onto the big front porch, where a succession of fiercely preoccupied bumblebees plunged headlong into blue morning glory blossoms. The sounds and smells of summer were in the air.” And his grandmother said, “Nothing to do? The world is there. Go use it.” 

Boredom is a great time for reflection, for using the imagination. I suppose Isaac Newton was bored when he saw the apple drop from the tree and began to wonder about gravity. You can get your best ideas when you have nothing to do but think. Fruitful monotony—don’t fight it; use it creatively. 

This is an excerpt from Earl Nightingale’s The Direct Line, available from Amazon, Barnes & Noble, 800-CEO-READ, and other fine retailers. The first beautifully packaged print edition of Nightingale’s famous audio program, this book offers a practical guide designed to help you find real and lasting success in your career, relationships, and finances. Pick up a copy today and begin the most exciting and rewarding journey on earth—your journey of self-discovery and personal fulfillment! Also, don’t forget the accompanying action guide, available from Amazon and Barnes & Noble!  

Sign up here to receive free samples from this and other Nightingale-Conant publications. 

What Entrepreneurs Can Learn from Poetry by Jennifer Janechek

This article originally appeared here on Entrepreneur. 

Humanities majors are becoming increasingly desirable to corporations. Just take a look at this recent study suggesting that Google’s most-prized skills in its employees are those cultivated by a humanities degree rather than a STEM one. But even if you don’t have a degree in the humanities, you can still take insight from the wisdom that programs of study like English, history, and philosophy have to offer. 

For instance, I recently read Mary Oliver’s A Poetry Handbook: A Prose Guide to Understanding and Writing Poetry (Mariner Books, 1994) in preparation for a poetry segment in a literature course I’m teaching, and I was struck by how much of Oliver’s advice to budding poets is incredibly relevant to the corporate world as well. The following points and their accompanying Handbook quotes demonstrate how the humanities, and poetry in particular, can offer fresh advice and creative strategies for entrepreneurship. 

1. Imitation is a good starting place. 

“Emotional freedom, the integrity and special quality of one’s own work—these are not first things, but final things.” 

Oliver recommends that beginning poets start with imitation, learning the techniques of craft from the masters of poetry and experimenting with different poetic forms until they gain a thorough enough understanding of the mechanics of poetry to break out on their own. The same advice seems relevant for those new to the workforce: spend time studying the success stories of those in your field, learning what enabled them to achieve greatness, before striking out on your own. Read books like Napoleon Hill’s Think and Grow Rich, which details over 20 years of research on the basic principles contributing to the success of over 500 of the world’s wealthiest businesspeople. It’s important to know what’s been done before, and how it’s been done, to avoid as many pitfalls as possible and to be able to develop your own work style. 

2. Be wary of when your work habits become “second nature.” 

“It demands, finally, a thrust of our own imagination—a force, a new idea—to make sure that we do not merely copy, but inherit, and proceed from what we have learned. A poet develops his or her own style slowly, over a long period of working and thinking—thinking about other styles, among other things. Imitation fades as a poet’s own style—that is, the poet’s own determined goals set out in the technical apparatus that will best achieve those goals—begins to be embraced.” 

While imitation is a great starting point, you don’t want to spend your entire work life copying what others have done. Rather, you want to “inherit, and proceed from what we have learned,” as Oliver says. Use your study of others’ stories to develop your own unique vision and style. 

3. Avoid clichés at all costs. 

“The cliché works in poems as it works in any kind of writing—badly. Do not use the cliché in a poem unless, perhaps, you are writing a poem about the cliché.” 

Clichés abound in the corporate world as much as in the academic world. They fill our hurried e-mails, our copywriting, and our presentations. Relying on clichés suggests a certain laziness and a lack of engagement with the person or topic. Put in the extra effort to say something original and meaningful that will add value to your life and the lives of the people with whom you’re working. 

4. Finding a work rhythm enhances productivity and pleasure. 

“Rhythm is one of the most powerful of pleasures, and when we feel a pleasurable rhythm we hope it will continue. When it does, the sweet grows sweeter. When it becomes reliable, we are in a kind of body-heaven.” 

When we read poems with enjoyable rhythms, we feel pleasure. We do this because rhythm is one of the greatest joys of the human body. Just like rhythmic text brings us joy, daily rhythms nourish our bodies and our souls. Developing a work rhythm will similarly bring more pleasure to your professional life and will help you accomplish more and feel less stressed during your workday. 

5. Inspiration is important, but it almost always takes hard work to get desirable results. 

“Have some lines come to you, a few times, nearly perfect, as easily as a dream arranges itself during sleep? That’s luck. That’s grace. But this is the usual way: hard work, hard work, hard work. This is the way it is done.” 

We might be tempted to think that the most successful poets, businessmen, etc., were just “lucky” or that they received inspiration from the muses and simply coasted to greatness. In 99.9 percent of cases, that is not true. Success, as Oliver notes, requires “hard work, hard work, hard work.” 

6. Workshopping ideas and business materials makes for better employees and better products. 

“With everyone using an understandable language, and with a number of persons scrutinizing the work, the workshop members can learn a great deal about their general aptitude and specific writing skills—can learn much more than even the most diligent writer could ascertain in the same amount of time while working alone.” 

The poetry workshop has been a staple in creative writing programs since the early twentieth century. Although collaboration is a buzzword in the business world, it’s not the same thing as workshopping. Companies might continually improve the effectiveness of their employees and refine their products by encouraging workshops—meetings where employees use a shared language in order to scrutinize their work processes, materials, etc. For these to be successful, it’s crucial for everyone to lay aside their egos, be willing to receive and provide constructive criticism, and forgo comments based on personal tastes/opinions for those more focused on objective reasons why something does or does not work. 

7. It’s crucial to stay aware, curious, and engaged. 

“A mind that is lively and inquiring, compassionate, curious, angry, full of music, full of feeling, is a mind full of possible poetry.” 

While it’s beneficial to have a work rhythm, you don’t want to let your habits turn into mindless routines. When this happens, you can fall into the work doldrums, where you operate on autopilot and stop thinking creatively. To give your job (and yourself) the best, prevent yourself from developing tunnel vision: stay engaged with and curious about your surroundings and your career, have daily and weekly check-ins with yourself about your goals and the steps you’ve taken to achieve them, and continually read books and articles that keep you passionate about your work and your vision. 

How does poetry inform your work? Do you write or read poetry for fresh inspiration? Let us know in the comments below! 

Jennifer Janechek is the director of content strategy for Sound Wisdom. She has her PhD in English literature from the University of Iowa and her MA in English from the University of South Florida. She is also the founder of The Work-at-Home Mom Blog, which provides inspiration and community for moms who juggle work and parenting simultaneously. Her writings can be found in Entrepreneur, The Good Men Project, and many other publications. Follow her on Instagram, Twitter, and Facebook @thewahmblog.